As technology use increases in the world and inundates everyday life, the visual aspect of technology or computer graphics becomes increasingly important. This thesis presents a system for the automatic generation of virtual camera paths for fly-throughs of a digital scene. The sample scene used in this work is an underwater setting featuring a shipwreck model with other virtual underwater elements such as rocks, bubbles and caustics. The digital shipwreck model was reconstructed from an actual World War II shipwreck, resting off the coast of Malta. Video and sonar scans from an autonomous underwater vehicle were used in a photogrammetry pipeline to create the model. This thesis presents an algorithm to automatically generate virtual camera paths using a robotics motion planning algorithm, specifically the probabilistic roadmap. This algorithm uses a rapidly-exploring random tree to quickly cover a space and generate small maps with good coverage. For this work, the camera pitch and height along a specified path were automatically generated using cinematographic and geometric principles. These principles were used to evaluate potential viewpoints and influence whether or not a view is used in the final path. A computational evaluation of ‘the rule of thirds’ and evaluation of the model normals relative to the camera viewpoint are used to represent cinematography and geometry principles. In addition to the system that automatically generates virtual camera paths, a user study is presented which evaluates ten different videos produced via camera paths with this system. The videos were created using different viewpoint evaluation methods and different path generation characteristics. The user study indicates that users prefer paths generated by our system over flat and randomly generated paths. Specifically, users prefer paths generated using the computational evaluation of the rule of thirds and paths that show the wreck from a large variety of angles but without too much camera undulation.

La investigación tiene como objetivo examinar la relación entre los elementos gráficos usados en las producciones cinematográficas retrofuturistas pertenecientes a la plataforma de streaming de Netflix y el desarrollo de su estructura narrativa con la finalidad de hallar si estos elementos elaborados a través del diseño gráfico son determinantes para el desarrollo narrativo de una producción cinematográfica considerando factores relacionados a la experiencia cinematográfica. Se estudiaron, a través del análisis documental y de contenido por medio de la observación científica, los elementos gráficos de cuatro capítulos con estética retrofuturista de las series Black mirror (2011) y Maniac (2018), pertenecientes a la plataforma de streaming Netflix. Para lo cual se realizó una clasificación de los mencionados elementos gráficos según su rol y el área del diseño gráfico a la que se adjuntan, obteniendo información detallada de los mismos. A lo largo de la investigación se encontraron 198 elementos propios del diseño gráfico a través de los cuatro capítulos analizados. Los anteriores dependiendo de su uso comunicaban distintas partes de la narrativa, resaltan distintas escenas donde los elementos gráficos definían la trama. Además, se puede afirmar que un elemento gráfico es capaz de revelar distintos estados emocionales del personaje o cambios de contextuales del mundo ficticio en el cual la narrativa tiene lugar. Se concluye a través de esta investigación que el diseño gráfico a través de los elementos gráficos posee una influencia resaltante en la narrativa visual cinematográfica, sobretodo en el género retrofuturista y en la construcción de su estética. / The objective of this research is examining the relationship between the graphic elements used in the retrofuturistic cinematographic production to Netflix streaming platform and in the development of its structural narrative, in order to find if the graphic elements crafted through graphic design are key for the narrative development of a cinematographic production considering factors related to the cinematographic experience. Through a documentary analysis and by means of scientific observation graphic elements from four chapters with retrofuturistic aesthetics from Black Mirror series (2015) and the Maniac series (2018), both belonging to the Netflix streaming platform were studied. For this task a classification of the mentioned graphic elements was conducted, each according to its role and the graphic design area in which they connect, thus obtaining detailed information on those. Throughout the research, a total of 198 elements belonging to graphic design were found among the four chapters analysed. The previous ones, depending on their use, expressed distinct parts of the narrative, some scenes that included graphic elements that defined key parts of the narrative stand out. Furthermore, one can affirm that a graphic design element is capable of revealing emotional states of a character or also show contextual changes in the world where the narrative takes place.  One then reaches the conclusion that by means of researching the various graphic design elements these possess a striking influence on the visual cinematographic narrative, especially in the retrofuturistic genre and in the construction of its aesthetic. / Trabajo de investigación

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Les Journées Cinématographiques de Carthage (JCC) est un festival arabo-africain du cinéma créé en 1966, le plus vieux du continent africain et asiatique. Ces dernières décennies, il a connu de nombreux dysfonctionnements au niveau de l'organisation et des choix esthétiques des films sélectionnés pour la compétition, réservée exclusivement aux films arabes et africains. Mais, d'autres sections parallèles projettent hors compétition des films venant du monde entier. Dans cette thèse nous nous basons sur des entretiens que nous avons réalisés avec différents protagonistes, liés directement ou indirectement à la réalisation de ce festival depuis sa création jusqu'à ce jour. A partir de ces documents nous avons étudié l'organisation et la gestion du festival, et considéré l'esthétique qui se dégage du choix des films, étant donné qu'ils ont une portée militante, autour de thèmes évoqués qui relèvent de la dénonciation sociale politique et culturelle. Cette recherche est une tentative d'offrir un travail universitaire et un nouvel outil pour approcher le cinéma arabe et africain grâce au festival de Carthage, jusqu'ici peu étudié. / The JCC (« Carthagian days of cinematography ») is an Arab-African film festival established in 1966, the oldest on the continent. Over the last decade, the festival has seen number of challenges on the organizational level as well as in its film selection; the competition remained exclusively reserved to African and Asian films. In parallel sections not being part of the competition films were shown from around the world. The present thesis is based on interview conducted with a wide range of protagonists directly or indirectly responsible for managing the festival ever since its creation. Based on these primary sources, the organization and the management of the festival were analyzed as well as the aesthetic concept that could be derived through the selection of films especially through from their political or cultural content. This research is an academic accomplishment and an attempt to offer a new working tool to ease research on Arabic and African cinematography through the festival of Carthage that until now remains a festival hardly studied.

This thesis examines how the creators of Croatian Jadran film - especially in the 1960s - portrayed the events bound to known historical reality, how they artistically interpreted this reality, and which historical events in the surveyed period were in the focus of their interest. In my choice of films I followed mainly the production aspect, which is also the main criterion of Croatian film historiography for selection of films in the national cinematography. From the topical perspective, the predominant motives relate to the people's liberation war or the civilian stories taking place in the background of war events. The movie Nevesinjska puška, which treats more ancient historical events, is the only exception. The production can also be characterised by the manner of explicating a historical theme. It features film spectacle, lyrical parable, and film interpretation which can serve as a material for historical research and analysis, or for studying the mimetic period between a generally accepted and understood historical fact, and its artistic rendition. The last mentioned is often featured with pictures from the partizan milieu. Except for some rare cases, the pictures reflecting historical events limited by the end of the World War II are distinguished by a collective, vaguely-specified...

Thesis (MPhil (Music))--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This thesis represents an attempt to explore the use of metadiegetic film sound and its connection with qualities displayed by human physiology. Metadiegesis is chosen as the focus of this study, in order to point out the potential of film sound to be representative and not to slavishly imitate its visual counterpart. Therefore, because metadiegetic sound is deictic in nature, the first hurdle to clear was to navigate through a terminological minefield, allowing a clear glimpse of its true meaning and its connection with the filmic image. The researcher attempts to create hypothetical scenarios in order to analyse and discuss metadiegetic examples from films, convincingly utilised and less-convincingly so. The intention was to understand, clarify and disambiguate terminological uncertainties and inaccuracies. An exploration of asynchronous metadiegetic sound follows as refinement of the first step. This is done by resorting to existing examples in the form of extracts from films for demonstration purposes. As a result, the use of metadiegetic film sound is clearly defined and its use explained by attaching it to three concepts: a ‘story within a story’, external story space, and internal representation. It is argued that through these concepts, sound can be amalgamated with image to create a different realm, where sound and image tell more than an audio-visual story. / AFRIKAANSE OPSOMMING: In hierdie tesis poog die navorser om die gebruik van “metadiegetic” film-klank, en die verband wat dit met die menslike fisiologie hou, te verken. “Metadiegesis” vorm dus die fokuspunt van die navorsingstuk. Hierdie fokus beklemtoon film-klank se verteenwoordigende potensiaal, en die feit dat dit nie net ʼn slaafse nabootsing van die visuele aspek van film is nie. Aangesien “metadiegetic” klank dus deikties van aard is, is die eerste uitdaging om ʼn weg te vind deur ʼn terminologiese mynveld. Dit word gedoen in ʼn poging op ʼn duidelike begrip van die ware betekenis van “metadiegesis” te ontwikkel, en om die verband wat film-klank met die visuele aspek van film het, duidelik te maak. Die navorser poog in die eerste plek om hipotetiese scenario’s te skep om sodoende “metadiegetic” voorbeelde in films te analiseer en te bespreek. Die doel is om terminologiese onsekerhede en dubbelsinnighede te verstaan en te verklaar. Dan volg die verkenning van asinchroniese “metadiegetic” klank as verfyning van die eerste stap. Dit word gedoen deur gebruik te maak van film-uittreksels ter verduideliking van die bogenoemde stappe. Na aanleiding hiervan, is die gebruik van metadiegetiese film-klank duidelik gedefinieer, en die toepassing daarvan gekoppel aan drie konsepte: ʼn “storie binne-in ʼn storie”, “eksterne storie ruimte” en “interne verteenwoordiging”. Deur middel van hierdie konsepte kan klank saamsmelt met beeld om ʼn ander dimensie te betree, waar klank en beeld meer vertel as ʼn oudiovisuele storie.

Animator-producer Paul Houlton Terry has been portrayed as having little passion for the animation he produced and being more concerned with making a profit than producing entertaining cartoons with high production values. The purpose of the dissertation is to re-evaluate Terry‘s legacy to animated cartooning by analyzing his business philosophies, production values, and studio practices. Application of four psychodynamic factors to the early life and career of Terry, 1887-1929, found that his economic decision making was characterized by: an external locus of control, risk-averse financial behaviour, extreme saving behaviour through precaution, and shrewd money management practices. Based on Terry‘s historical responses to twelve major economic, technological, or institutional forces of change for the period 1929-1955, the psychodynamic factors were found to provide accurate explanations for his studio practices and production decisions. There was no evidence to support the conclusion that three early career disappointments undermined Terry‘s intrinsic motivation to create animated cartoons. Rather, Terry‘s lack of risk taking, external locus of control, tight studio production schedule, desire to compete with neighbour studio Fleischer, difficulty in separating financial rewards from creative processes in animation, and practice of undertaking surveillance measures on staff may have undermined his and his studio‘s creativity. Archival research found Terry to possess strong passions for and to have made significant creative contributions to the field of animation. Biographical research found that Terry retained a stable nucleus of highly talented artists who dedicated a significant portion of their working careers to the studio. An analysis of the cel aesthetics of a random sample of animated cartoons produced during the years 1930-1955 found that Terry created animated cartoons with above average cel aesthetics when compared to the other studios thereby supporting an inference that Terry was motivated to producing quality crafted animation. Further research is suggested into the role psychodynamic factors and economic decision-making play in the film production process and a clarification of Terry‘s legacy to the field of animated cartoons.

This study used cinematography to determine differences in velocity, acceleration, moments of force, and body centers of gravity in four different positions of two techniques of the long-hang kip. Three female gymnasts performed five attempts of each technique: the traditional method, with an arch in the lower back at the end of the forward swing, and approximate shoulder angle of 180 degrees or more; and the newer method, with no arch in the lower back and approximate shoulder angle of 90 degrees or less. Three. USGF-rated judges scored the kips, and due to inability to distinguish between the two techniques, two subjects were eliminated. Major differences occurred in the swing extension, with the newer technique producing more velocity and a higher center of gravity throughout the movement.

How can movie production companies speak to their potential audience thru movie trailers? Which means do they use and what is the public reception? How does a viewer interpret a movie trailer? What can we learn about viewers from movie trailers? This thesis is offering all the answers to questions mentioned above in two different parts - in the first part the concepts of movie trailers are introduced and explained, the second part analyses the outcomes of a research which studies the affects of movie trailers on potential audience. Collected data through quantitative methods of two uniform groups on the topic of movie trailers were studied by focus groups. This thesis focuses on understanding the approach of viewers on movie trailers and is trying to clarify when the movie trailers can act as a decision maker in order to change the approach and behavior of the audience. Thesis aims to offer a broader overview to the relationship between movie trailers and viewers and propose a guide how to read audiovisual works critically. The intention is to uncover that the scheme between text and context is characterized by complex processes of mediation and interpretation on the level of production, propagation and reception. The outcomes of the study can help to understand how viewers as consumers interpret...